Delicacy and disgust

Mona Hatoum, Hair Necklace, 1995

At first glance, especially through the window of an expensive jewellery shop*, Mona Hatoum’s Hair Necklace might appear to be delicate beads made of spun metal thread. A closer look – or knowing the name of the piece – would immediately give the game away though and this delicately beautiful necklace would immediately become somewhat less appealing. A single string of beads as a necklace isn’t exactly unusual. And the idea of carrying a lock of a loved one’s hair in a necklace, specifically a locket, is hardly new. Combine the two ideas though and you get something rather less commonplace and much more interesting. Hatoum’s hairball beads are undeniably beautiful. There is an extraordinary filigree delicacy to them. Nonetheless, those odd stray ends disturb. And the realisation that this is hair – real hair – inevitably offsets the aesthetic appeal.

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Casting a long shadow

Mona Hatoum, Current Disturbance, 1996

The whimsy of Noble and Webster’s use of shadows is witty enough but ultimately – for me at least – the work is unsatisfyingly slight. I enjoy it well enough at the time but the work never really gets under my skin. But shadow is a powerful force and it’s one that Mona Hatoum uses to really good effect.

In installations like Current Disturbance – which I saw at the Whitchapel Gallery in 2010 – Hatoum uses shadow as a meaning force. The bare lightbulbs fade in and out and the crackle of an electric current gives a sinister edge to the changing light levels. The gridded structure – reminiscent of the cages occupied by battery hens perhaps – feels prison-like. The installation has an architectural feel, but if this is a city space it is a densely-populated and uncomfortable one.

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